Above: 1929 Swedish poster for The Hound Of The Baskervilles (Richard Oswald, Germany, 1929). Designer uncredited.It’s time once again for my countdown of the most popular (the most “liked” and “reblogged”) posters on my Movie Poster of the Day Tumblr over the past three months. The most popular by far, and deservedly so, was this extraordinary 1920s Swedish poster for an adaptation of Conan Doyle’s The Hound of the Baskervilles, which looks like some modern Mondo marvel. I had never seen it before it showed up on Heritage Auctions in March, where it sold for over $5000 (a steal). I’m not sure how Heritage dated the poster or divined which version of Hound of the Baskervilles this was for, since there are no acting or directing credits on the poster. They claim it for Richard Oswald’s 1929 German version though IMDb has a variant of the poster attached to a 1914 German adaptation.
- 5/13/2016
- MUBI
Above: 1965 Czech poster for Three Fables of Love (Blasetti, Bromberger, Clair, Berlanga, Italy/Spain, 1962). Designer: Karel Teissig.Two events provoked this article. First of all, last week I saw the wonderful 1963 Czech fable The Cassandra Cat (a.k.a. When the Cat Comes) at New York’s newest cinephile hotspot, the Metrograph. In this charming New Wave satire a cat wearing dark glasses is brought into a small town by a circus troupe and, when his glasses are removed, the townspeople are revealed in their true colors: namely neon shades of purple, yellow and pink, each representing their vices or virtues. The highlight of the film for me, aside from a psychedelic freak-out dance party in the middle of the film, comes when all the children of the town march through the street bearing large drawings of cats. Chris Marker would have loved this film.The second event was the...
- 3/30/2016
- by Adrian Curry
- MUBI
Of all the cinéma de papa stylists so despised by the nouvelle vague, René Clair stands alone as the sole member of the old guard to stand down in the face of critical opposition. Or so it seems: Les fêtes galantes (1965) was his last film.
While Carné and the rest struggled on, defiantly filming when they could, Clair apparently had no stomach for the fight: if people thought he was old-fashioned, maybe he should stop.
One doesn't have to hate Clair with the ferocity that Truffaut could muster in order to see some sad wisdom in this retirement: for some time, Clair's films had been a little stiff. His early days among the surrealists, when he could make a kinetic exercise in visual absurdity like Entr'acte (1924), were long gone, and the vein of absurdist fantasy that enlivened his earliest narrative movies had its last expression in 1952's Les belles de nuit,...
While Carné and the rest struggled on, defiantly filming when they could, Clair apparently had no stomach for the fight: if people thought he was old-fashioned, maybe he should stop.
One doesn't have to hate Clair with the ferocity that Truffaut could muster in order to see some sad wisdom in this retirement: for some time, Clair's films had been a little stiff. His early days among the surrealists, when he could make a kinetic exercise in visual absurdity like Entr'acte (1924), were long gone, and the vein of absurdist fantasy that enlivened his earliest narrative movies had its last expression in 1952's Les belles de nuit,...
- 7/11/2013
- by David Cairns
- MUBI
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